Hours: Studio & Showroom open Tues-Sat while artist is working, or by appointment.
A fully working and active Fine Art Studio, Goldhammer paints a convergence of color and emotion and seeks to build and layer organically as the painting allows it to happen. There is no analyzing, conceptualizing or judging that takes place. It all happens in the moment as a union between her, the canvas and the paint.
#G8A / 310-906-4211 / bGartdealings.com
April - Early May: Day Dreamers
Late May: Yaron Dotan (solo) Word Jumble (group)
June: Spectrum Gestalt 4
August: Mike Saijo
A video installation by Niklas Goldbach
BUILDING BRIDGES ART EXCHANGE
Filmed with the support of Villa Aurora & Thomas Mann House e.V.
Curated by Friedel Schmoranzer
1550 San Remo Drive was filmed in February 2017 on the premises of the Thomas Mann House in Pacific Palisades, California, USA. The video features quotes from JR Davidson, Thomas Mann and the real estate companies which marketed the house, before it was bought by the German government in November 2016 for $13.25 million.
A solo project of paintings and objects presented by
BUILDING BRIDGES ART EXCHANGE
In partnership with Santo Tomas Cultural Center
Curated by Marisa Caichiolo
In the series titled Absent Speech, Delgado decided to work with international news headlines, published in the newspapers or the internet. From a technical standpoint, he has vanished the content of the news, including any reference of the image. By suppressing environments, places, and cultures, the news is reduced to a minimal presence, stripping them of meanings and/or adding others. The artist tried to create a space of mental repose, aimed at generating a supposed tranquility, in contrast to all the alarming, and in many cases manipulated, news that the media offers us constantly.
December 2nd, 2017 6pm - 9pm
Building Bridges Art Exchange (BBAX) is a non-profit (501) (C3) contemporary art organization. Our mission is to help cultivate cultural understanding through the arts. We work to engage local communities and contemporary artists across the globe by facilitating workshops, educational programs, international art exchanges and artist residencies. We work in partnership with museums, galleries, Ministries of Culture, cultural art centers, art organizations and foundations from around the world—at present over 27 countries
BUILDING BRIDGES ART EXCHANGE
2525 Michigan Ave, Unit F2, Santa Monica
Copro Gallery presents artist MENTON3 solo exhibition 'KATABASIS 2'. For this exhibition brand new oil paintings and works on paper will be featured.
Katabasis or catabasis is a descent of some type, such as moving downhill, the sinking of the winds or sun, a military retreat, a trip to the underworld ,The term has multiple related meanings in poetry, rhetoric, and modern psychology.
Menton has had a lifelong interest in the relationship between symbols, signs and images and that part of ourselves we most commonly refer to as "unconscious". Though he has always drawn and painted, his first methodical exploration of this field was through music, which he saw as a tool enabling a composer to bring to light 'interior' imagery in the listener and reveal frozen phantasmagoric instants, realized subjective memories and encapsulated emotions.Says Menton, "Many of the mythological, religious, alchemical, and historical icons, symbolic figures and shapes stimulate, if not summon, internal functions."
In gallery 2 a group exhibition 'The UNDERWORLD' is a mytheme of comparative mythology found in a diverse number of religions from around the world. The hero or upper-world deity journeys to the underworld or to the land of the dead and returns, often with a quest-object or a loved one, or with heightened knowledge. The ability to enter the realm of the dead while still alive, and to return, is a proof of the classical hero's exceptional status as more than mortal. A deity who returns from the underworld demonstrates eschatological themes such as the cyclical nature of time and existence, or the defeat of death and the possibility of immortality.
Wake by Gordon Dahlquist
November 10 – December 17, 2017 / Saturdays @ 8:00pm and Sundays @ 3pm
Box Office: 310-453-9939 or purchase tickets online at Brown Paper Tickets: https://www.brownpapertickets.com/event/3113763
Irene awakes from a cryogenic chamber into a future where her terminal cancer has been cured but the world as she knew it no longer exists. She is welcomed by curious humans who command and are commanded by “Platform,” a vast computer network which appears to have replaced all known reality. Has the Singularity occurred? Is there still a recognizable planet where earth once was? In Wake Dahlquist examines society and sociability when lives are long, wants are met, and no need for cooperation beyond the response to solitude.
World premiere by the author of the international bestseller The Glass Books of the Dream Eaters.
Fourth Sunday Q&A: After the 3:00pm performance on Sunday, December 3, please join us for an informal discussion with the cast and crew.
Visit www.citygarage.org/ for more information.
A Spirit Knows A Shadow Shows
December 2, 2017 - January 13, 2017
Reception: Saturday, December 2, 5-7pm
In her photo-based mixed media, she considers communication and the significant technology changes. “My work is a negotiation between the sentimental comfort of analog media, and our shift from ten digits to two thumbs,” she explains. Although the digital age owes much to its low-tech ancestor, Marler illustrates a further admiration for the older system. The younger generation will notice a different, trendy art form that is visually striking. The older cameras displayed in this exhibition are used in the narration that reveals the transition. Her series also demonstrates poetry, motivating the viewer with its positive messages. The variations in language, texting and abbreviations and website coding are an emphasis of LA Marler’s artwork.
“Keywords” asks conflicting questions about the different times.
LA Marler is an American Contemporary Photographic Pop Artist based in Los Angeles. She received her B.A. from the Southeast Missouri State University. Marler then continued her education at the Santa Monica City College making more photography. She began in commercial graphics as a part-owner of New Era Printing. Her combined mixed media pieces have been shown extensively throughout the Southern California, with other exhibitions in Missouri and New York. In 2016, she was included in an exhibition at the Smithsonian in Washington D.C. at the National Museum of American History. Her work has appeared in several publications, and has been shown in numerous, well-known films and prime time television shows (such as: “Two and a Half Men,” HBO’s “The Newsroom,” “Curb Your Enthusiasm,” “The Mentalist,” “Criminal Minds,” “Rules of Engagement” and more). This is Marler’s first solo show at dnj Gallery.
CLOSING RECEPTION: Saturday, December 9th, 5pm -7pm
Exhibition dates: October 31 - December 16, 2017
September 16th through December 2nd
Reception - September 16th from 6pm to 8pm
Australian vintage photography works from Max Dupain, Wolfgang Sievers, Olive Cotton, David Moore, Jeff Carter, Carol Jerrems and others.
FIG - First Independent Gallery
Bergamot Station D2
Louise Mordaunt "Stacked Vessels"
December 6 - December 30
FIG is pleased to announce Stacked Vessels, our first exhibition of artwork by Louise Mordaunt. The ceramic work of Louise Mordaunt is often suggestive of organic forms such as exotic plants, flowers, gourds, seashells and sea anemone. Mordaunt’s pieces are charming and whimsical with maybe a hint of a dark side. Her vessels are confident and elegant explorations of ceramic traditions, especially the influence of Art Nouveau, while her free-form pieces and most recent totems push the boundaries of imagination with a touch of Alice in Wonderland-like fantasy. Her use of marks and glazes echo her earlier days as a painter, but while painting definitely informs her work, the physicality of ceramics has taken her artistic output to a new level.
“Stacked Vessels is a collection of altered vessels, sculptural creations and totem-like sculptures. It is the result of my journey from a life of painting to one focusing on the challenges of ceramics. Changing my artistic focus from painting to clay naturally evolved over time as I became accomplished in ceramic technique and vision. My paintings were interior expressions reflected through organic forms with a focus on light and color. Creating sculptural works with clay as the medium has provided both freedom and constraints beyond painting. The foundation for all the pieces are altered wheel thrown forms combined with slab and extrusion elements. The three dimensional interaction of these balanced forms creates organic movement highlighted by the glaze color and light reflection. Developing textures and carved marks bring interest and tension to the works. The structural issue with clay lies in its very nature--- its fragility versus its strength.
“The totem-like structures are created from stacked vessels and forms. These stoneware shapes are threaded onto five to six foot one inch iron pipe attached to a circular steel base. Stacking these individual shapes produces a larger interactive structure while creating balance and movement between the connecting forms. The structural challenges involved with the larger stacked vessels alter the individual forms as they become one unit.
“High fire cone 10 glazing the final forms presents a unique challenge and opportunity. Unlike painting the firing process adds an uncontrolled element as the glaze moves and combines beyond the artist control. This relationship between the physical materials, firing process and glaze is a critical element of the process and the final result.”
Louise Mordaunt is a graduate of U.C.L.A. and has been exhibiting her work since the 1980’s. Originally a painter, Mordaunt has focused on ceramics in recent years.
Latin American Masters/Pacific Standard Time: LA/LA
September 9 - February 24, 2017
Suite E2, Tuesday - Saturday 11 - 6 PM
The Getty’s Pacific Standard Time: LA/LA (PST) initiative on Latin American Art begins in September, with five months of exhibitions throughout Southland galleries and museums. Latin American Masters gallery is pleased to announce the following PST exhibitions:
Fernando de Szyszlo October 14 - November 14
Reception October 14, 6-8pm
Beginning in the late 1950’s, Fernando de Szyszlo created an abstract language that combined the gestural power of Abstract Expressionism with forms and colors inspired by Peru’s Pre-Hispanic cultures. Szyszlo’s paintings distill vast areas of culture into a visual language that is his own. Szyszlo’s paintings are in the collections of the Centre Georges Pompidou, Paris, the Solomon Guggenheim Museum, New York, and other important institutions.
Francisco Toledo November 18 - January 13
Reception November 18, 6-8pm
Francisco Toledo is an artist of vast formal range and varied iconography. Individual works may combine oil paint, watercolor, sand and collage. More than a formal enlivening of his art, Toledo’s use of diverse materials reflects a worldview unbounded by categorization and hierarchy. This exhibition will feature the artist’s recent self-portraits. Toledo’s solo exhibitions include: the XLVII Venice Biennale, Venice, the Whitechapel Gallery, London, and the Reina Sofía Museum, Madrid.
Arnaldo Roche January 20 - February 24
Reception January 20 6-8pm
Roche’s paintings are densely layered, worked in a combination of techniques, including frottage (rubbing), grattage (scraping) and monotype (printing). Roche’s paintings explore issues of identity, memory, and our shared vulnerabilities to natural disaster. Roche has exhibited at the Art Institute of Chicago, Museum of Modern Art, New York, the Los Angeles County Museum of Art (LACMA), and other institutions.
For more information on this exhibition, please contact Stephanie Mercado at (310) 829-4455, or visit our website at LatinAmericanMasters.com.
Visit LILLA BELLO in Bergamot Station. Fresh, daily florals, event and wedding styling, and a specially curated lifestyle shop await in F1b
November 11th, 2017 – January 6th, 2018
Opening reception Saturday, November 11th, 6-9pm
SANTA MONICA, CA– Lois Lambert Gallery presents “Shells”, a collection of photographs by artist David Krovblit. The images are a combination of decorative traditions upon the form of a hand grenade. These combinations of beautiful, traditional, humorous and deadly, highlight the contrast of two elements of existence: an egg, the origin of life and the grenade, a harbinger of death. While both concepts can be of a serious nature, Krovblit’s combination creates a levity that makes the pieces engaging and approachable.
Krovblit’s three themes from the show are drawn from different cultures and time frames. The Fabergé Eggs of Imperial Russia, Japanese and Chinese Pottery, and commercial graphics from American advertising are utilized in creating a narrative of the long relationship between businesses and the machines of war. Powerful companies from these eras originally focused on art products for the masses later becoming companies that made “the weapons of mass destruction”.
David begins his discourse with these historical themes using the Fabergé eggs, decorative objects created for the wife of the Tsar of Russia. The Fabergé Egg became a symbol of the luxury and lavishness of the Russian Empire. After the fall of the empire, the nation was drawn into World War I. It was at this time that the Fabergé factory was called upon to create weapons for the war. It produced over six and a half million hand grenades throughout the duration of the war.
Krovblit’s “Bone China Grenades” were inspired by a story of World War II Japan. After being ravaged by many bombing campaigns, Japan was in ruins. At this point, the Japanese had run out of raw materials to manufacture weapons, because of this they created the Type 4 or “last ditch” grenade. This was a hand grenade with a fragmentation body made of terra cotta or porcelain materials, round-shaped with a rubber cover and a simple fuse. Kilns famous for the production of traditional Japanese pottery, such as Arita, Bizen and Seto were pressed into service.
David’s series “Exploit Grenades” is a tribute to Pop Art and Andy Warhol. This combination is a contemporary view of the previous concepts but with a more sinister feature. David believes these companies have ties to everything in the modern world usually helping perpetuate rather than alleviate the current discords, thereby continuing to play a role in the propagation of war.
David Krovblit studied Photography at Ryerson University. His career spans over a decade, working professionally as an advertising photographer, shooting many national and international brands and campaigns. In addition throughout his professional career he continued working on his art photography. Krovblit’s artwork has been featured in juried exhibitions and group shows in Canada and the United States. Krovblit’s photography has won several international awards.
“The Real Future: Dancers at The Lot, Los Angeles”
November 11th, 2017 – January 6th, 2018
Opening reception Saturday, November 11th, 6-9pm
SANTA MONICA, CA - Lois Lambert Gallery presents “The Real Future: Dancers at The Lot, Los Angeles”, a series of photographs from artist photographer John Nyboer. This collection of photographs is an intimate look into “The Lot”, a vibrant underground dance community thriving in the parking lots and warehouses of downtown Los Angeles.
The idea for this series of photographs was born on November 8th, 2016. As Nyboer walked through the streets of downtown Los Angeles thinking about, “the fear and ignorance that had prevailed in the 2016 election”, heard the bass thump of music. He followed the sound and it led him to a group of dancers in the middle of a parking lot.
“I heard music and saw a group performing a dance routine in a parking lot, a synchronized body of movement and shadows beneath a harsh security light. I headed straight for the scene and saw a collective made up of people from everywhere. I knew immediately that this was a future worth representing. I asked the person next to me:
“What is this group up to?”
“Popping. It’s a popping class.”
“A dance class? Right here in the f****ing parking lot?”
When the dance ended, Nyboer made his way to Slim Boogie, the leader and teacher of the group. Slim is a professional dancer who performs around the world and is embedded in the recent cultural history of the Los Angeles dance scene; he started the group to build up the dance community here in LA. Unlike countries like Korea or France, which have full time paid dancers competing professionally, the U.S. does not offer much support for dancers. The Lot allows dancers from L.A. and all over the world to practice, meet other dancers, and hone their skill in a supportive circle of expression.
Nyboer was so impressed by the diversity of the group, its positivity, and the style and beauty of its dancers, that he was compelled to document their work. In the same spirit of openness that the group shows new dancers, Slim welcomed Nyboer as a photographer of this largely underground movement. “The Lot” represents what the future could manifest if everyone lived according to the ethos of these dancers whom, in his words, “represent the best of humanity”.
Nyboer made the decision to photograph in natural light without flash to captivate the essence of the dance. Slow shutter speeds mean that Nyboer sometimes captures just the movement, creating a ghost-like figure within a crowd. In the image “Mad Lines”, the photograph is bathed in a pink and orange hue caused by the difficulty of realizing true colors in the dimly lit parking lot. The faces of the dancers in the background show attentiveness. In their expressions you can see them critiquing one another while acknowledging the skill and creativity of each dancer. Nyboer wants people to imagine placing themselves in the middle of the dancers, to feel “the joy, courage, and community that drive this art form.”
Lora Schlesinger Gallery is proud to present Idle, featuring a new series of paintings and drawings by Christopher Murphy. Idle is Murphy’s sixth solo exhibition with the gallery. The exhibition opens with an artist’s reception, Saturday October 21st from 5 – 7 pm, and is on view through November 25, 2017.
Christopher Murphy’s Idle analyzes the dual nature of leisure and idleness, a duality which Franz Kafka identified as the “beginning of all vice, and the crown of all virtue.” Through photorealistic renderings of subjects in various states of leisure, Murphy questions when leisure, tranquil and meditative, transforms into idleness, empty and oblivious.
Murphy’s subjects are reimagined from family photographs found in his own collections, estate sales, and thrift stores, chosen for their intrinsic qualities of candidness, semi-permanence, and immediacy. In these photographs of the past, Murphy searches for subjects that reflect conditions of the human experience: beauty, indolence, sadness, and humor. With this exhibition, Murphy expands his concept of altering the instantaneousness of photography into a laborious rendering experience. In taking months to create detailed drawings and paintings from photographs, he redefines the transitory nature of technology.
Murphy was born in 1977 and grew up in Irvine, CA. His earliest and most lasting influences are the painters Lucien Freud, Antonio López García, and Robert Bechtle. He earned his B.F.A. from Art Center College of Design in 2002, and was awarded the highest honor of graduation with distinction. His work has been reviewed by The Los Angeles Times, Artweek, and Art Papers. In 2012, he was selected as the New American Paintings Reader’s Choice Winner.
Lora Schlesinger Gallery is also proud to present Con Fuego, featuring a new series of paintings by Robert Ginder in our east gallery. Con Fuego is Ginder’s fifth solo exhibition with the gallery. The exhibition opens with an artist’s reception, Saturday October 21st from 5 – 7 pm, and is on view through November 25, 2017.
Robert Ginder’s Con Fuego presents fire as a symbol of freedom, the epitome of dynamism and change as opposed to destruction. In this new series, Ginder adopts fire as an emblem of freedom of expression, celebrating that freedom which is often under siege. Visible throughout the exhibition, the emblem features a flame engulfing a palm tree, unifying the symbols that represent inspiration, passion and paradise under the common cause of self-expression.
Ginder is known for painting contemporary subjects under traditional genres, juxtaposing the modern day with the historical. He places secular subjects in landscapes of gold to evoke religious iconography of 14th century Renaissance paintings. The conflict between the contemporary and traditional is further examined through his hyper-traditional still-life works. Although a highly traditional genre of painting, Ginder veers from the tradition into the contemporary by rendering the paintings in cinematic sizes to emphasize the subject’s qualities and splendor. The interplay between the traditional and contemporary serves to generate admiration for prosaic subjects that would ordinarily be dismissed.
Robert Ginder lives and works in New York. His work has been exhibited internationally since 1984. In 2012, he was included in the Belvedere Museum’s Gold Exhibition in Vienna, Austria. In 1992, he was the recipient of the New York Foundations for the Arts Fellowship. His work can be found in the collection of the Brooklyn Museum and the La Jolla Museum of Contemporary Art.
Exhibition Dates: October 21 – November 25, 2017
Lora Schlesinger Gallery exhibits contemporary art, both figurative and abstract. Focusing primarily on California based painters and sculptors, the gallery represents established and emerging artists.
We also act as art advisors to designers, architects, corporations and private clients.
Patrick Painter Inc. is pleased to present The Xenomorph’s Egg, a group exhibition featuring artworks by Bas Jan Ader, Justin Bower, Chaz Guest and Earnest Lor.
October 21st - December 2nd 2017
October 21st, 2017 (6 - 8pm)
2525 Michigan Avenue, B-5A
Santa Monica, CA 90404
Richard Heller Gallery is proud to present Christian Rex van Minnen, Mourning Wood in Liminal Dawn. This is van Minnen's first solo exhibition with the gallery.
From the artist:
"I am in a liminal space. It is disorienting and bewildering. I'm something, someone, somewhere in between the problem and the solution; the old and the new; asleep and #woke. I am in the darkness of individuation. It is the grieving part. The breaking down part. The humiliating part. Burning all away until what is left is a thin residue of a former self; Caput Mortuum. There is, however, an undeniable excitement about it all. It is sublime. It is an involuntary erection of the spirit. Mourning Wood in Liminal Dawn.
The paintings in this show, like the trickster, are symbolic of liminality itself. Simultaneously specific and ambiguous. The imagery in the work include themes of heads and beheading, phallus and orifice, whimsy and melancholy, fluorescence and gray, penetration and erection, sex and death, power and powerlessness. In part, I am responding to a cultural entreatment to examine heterosexual male identity. This process is a labyrinth of self-deceit, grief, hope and excitement. This work is an attempt to describe the feelings and ideas experienced in this liminal state in between what was and what is becoming. I am motivated by both fear and a desire to love more fully, and at times they seem like the same thing."
~ Christian Rex van Minnen
About the artist:
Christian Rex van Minnen was born in Providence, RI in 1980 and received his BA from Regis University, Denver in 2002. He has exhibited throughout the US and internationally and was recently awarded an Artist-in-Residence at Anderson Ranch Arts Center in Aspen, CO (Fall, 2017). van Minnen is represented by Richard Heller Gallery, Los Angeles and Gallery Poulsen in Copenhagen, DK.
Recent exhibitions include con-figuration, a group exhibit at Postmasters, NY, Juxtapoz x Superflat, co-curated by Takashi Murakami & Evan Pricco at the Vancouver Art Gallery, Vancouver, Canada, and Enantiodromia a solo show at Gallery Poulsen in Copenhagen, Denmark.
Public Collections include: Denver Art Museum, Djurhuus Collection, Colección Solo, and the Richard B. Sachs Collection. van Minnen currently lives and works in Brooklyn, NY.
ROBERT BERMAN GALLERY will be showcasing artworks that the gallery has been showing since 1979 at his first Santa Monica gallery. On view will be select works from two of the important historical exhibitions/books Hispanic Art In the United States: Thirty Contemporary Painters and Sculptors (1987) and Le Demon Des Anges (France, 1989). Works in the exhibition will start from the 1950's with works by Martin Ramírez (in conjunction with RICCO/MARESCA Gallery), then on through the 1960’s with works by Fulgencia F. Corral, then to the 1970's with works by Carlos Almaraz and will go through important works by other Chicana/o and Latino artists including Robert Graham, John Valadez, Frank Romero, Richard Duardo, Harry Gamboa and others up through the 21st century. Also featured from the Hispanic Art in the United States exhibition will be unique works by Cuban artists Paul Sierra and Carlos Alfonzo. Aside from major paintings and works on paper from these seminal artists, the show will include much of the ephemera and documentation of the L.A. Chicana/o artists from the last quarter of the 20th century and on into the 21st century.
A special featured exhibition of the works by Martin Ramirez will be on view courtesy of the Martin Ramirez Estate and RICCO/MARESCA Gallery.
Featured artists in alphabetical order include:
Carlos Alfonzo, Carlos Almaraz, Sol Aquino, Sergio Bustamante, Oscar Castillo, Fulgencio F. Corral, Richard Duardo, Rudy Fernandez, Elsa Flores, Diane Gamboa, Harry Gamboa, Margaret Garcia, Roberto Gil de Montes, Yolanda Gonzalez, Robert Graham, GRONK, Wayne Healy, Luis Jimenez, Roberto Juarez, Leo Limon, LOS FOUR, Gilbert "Magu" Lujan, Daniel Joseph Martinez, Jesus Moroles, Manuel Ocampo, RETNA, Frank Romero, Rafael Serrano, Paul Sierra, Eloy Torrez, John Valadez
REVOLVER GALLERY INVITES YOU TO EXPERIENCE ITS COLLECTION.
ANDY WARHOL: REVISITED is a touring exhibition celebrating the iconic artist’s work. The exhibition begins on February 14th, 2017, coinciding with the 30th anniversary of Andy’s untimely death. Warhol Revisited includes over 200 works of art in rotation. The exhibition is free to the public (by reservation only).
Revolver Gallery has a one-artist program exclusively dealing in Andy Warhol prints and paintings, making it the only of its kind. Revolver also has the largest gallery owned collection of the artist’s works worldwide, with over 250 works in inventory. Revolver Gallery is dedicated to the promotion and preservation of Andy Warhol’s legacy.
To make a reservation please head to https://warholrevisited.com/
ROSEGALLERY presents PhotoGRAPHIC, an exhibition of theupcoming graphic novel PhotoGRAPHIC: The Life of Graciela Iturbide, published by the J. Paul Getty. Accompanying works by the legendary photographer, ROSEGALLERY will present the novel in its entirety, with original drawings by Zeke Peña and prose by Isabel Quintero. Photographs, illustrations and prose come together to illuminate the artistic power of Iturbide’s life and work. Presenting the multifaceted manifestations of her story, the exhibition opens on 8 September 2017 and runs through 23 November 2017.
Just as in the graphic novel about her life, Graciela Iturbide’s work exists at the intersection of captivating imagery and poetic language. Born in Mexico in 1942, Iturbide studied photography under the Mexican icon Manuel Álvarez Bravo, a contemporary of Tina Modotti, Frida Kahlo and Diego Rivera. With the uniqueness of her own eye, Iturbide captured her surroundings in intimate and empowering expressions. Often highly metaphorical, Iturbide’s photographs visually and poetically connect her own surroundings with a deeper understanding of the world.
Told through text, illustrations and Iturbide’s photographs, PhotoGRAPHIC: The Life of Graciela Iturbide delves into Iturbide’s history and photographic works with the guiding vision of the artist herself. From the Sonora Desert to Juchitán, India and the American South, the graphic novel tells of Iturbide’s explorations throughout the world, all caught through the lens of her camera. In the beginning pages of the graphic novel, it states, “Graciela Iturbide is a photographer. She is an icon. Orgullo mexicano. Maestra.” With her masterfully crafted photographs, Iturbide proves each title true. Iturbide’s exploration of often overlooked and eclectic subjects brings a range of perspectives to her work and her own story. Each image transcends the border between reality and myth. Birds come to her through many of her dreams and often reappear in flight in her photographs, tracing a line through her imagination and her world in the poetic language of their collective motion. Following the trail of birds on the walls of PhotoGRAPHIC, one may glimpse into the rhythm of Iturbide’s vision as her story unfolds.
Isabel Quintero lives and writes in the Inland Empire of Southern California, where she was born and raised. She received her B.A. in English and M.A. in Composition from Cal State San Bernardino. Her first novel, Gabi, A Girl in Pieces, was one of School Library Journal and Kirkus Reviews Best Books of 2014, and won the American Library Association’s William C. Morris YA Debut Award prize for a debut YA novel. Her second book, Ugly Cat & Pablo (Scholastic), was published in April 2017. (© Getty Publications, 2018)
Zeke Peña is an artist and illustrator whose work about the U.S./Mexico border community explores universal themes by remixing contemporary and historical narratives. He received a degree in Visual Studies (Art History) from the University of Texas at Austin and has exhibited at the National Museum of Mexican Art in Chicago, Albuquerque Hispanic Cultural Center, Houston Center of Photography, El Paso Museum of Art, Museo de Arte Ciudad Juárez as well as galleries in Los Angeles, New York, San Diego, San Antonio, Houston, and Mexico City. (© Getty Publications, 2018)
Phillip Griswold Fiat Lux
October 22 - November 26, 2016
For this exhibition, Phillip Griswold continues his focus of fracturing images of the urban landscape to articulate the complex make-up of our surroundings. Originating in photographs and sketches made out in the field, Griswold paints landscapes abstracted into spaces that contain softly articulated, brushy forms intersected with bold geometry.
Rather than developing a sense for a specific place, Griswold uses the landscape as a way to explore the structure and effect of light. While there is a definite spatial quality to the work and a discernible horizon, he gently diffuses recognizable elements with planar interventions. He structures the paintings in a manner that creates dynamic formal tensions, but allowing the two forces to work in tandem, as if they occur naturally together.
This new body of work moves further yet from the representational nature of his older work, where lozenge forms, planes and cubes jostle within the landscapes, always focusing on light and spatial interplay. In one piece, a scene that references a streetscape that simultaneously alludes to strong movement while keeping a highly structured composition. In another piece, an array of variously colored, ordered planes fractures an otherwise moody clouded sky. In these and the rest of the paintings in the exhibition, the varied compositions always bring focus back to light – its architecture and the way it arcs and refracts in and out and between paintings.
Phillip Griswold received his MFA From Claremont Graduate University and lives and works in the Los Angeles area.
Jennifer Faist - Friends, Acquaintances, and Strangers
October 22 - November 26, 2016
Over the course of her career, Jennifer Faist has created artwork by bringing together two unlikely companions: fabric and high-gloss formalism. At first glance the work aligns with a version of the slick Finish Fettish works of the past, but Faist's meticulously crafted work merges pure materiality with personal resonance. As in previous series, Faist appropriates patterns from clothing with which she has personal associations. In this current body of work, she used apparel from friends and acquaintances, rather than material that she had collected over several years.
To create the vibrant, sculptural pieces, Faist draws her chosen textile design in fine detail and gradually envelopes the original form beneath layers of colored acrylic glazes. Each painting, suspended in resin on thick wood supports, becomes a relic of her encounters with other people. The perfectly smooth, reflective paintings draw viewers into their vibrant, shimmering depths, making onlookers a part of the material and emotive journey that the pieces reveal.
“The patterns in my latest grouping of paintings come from textile designs from the apparel of friends and acquaintances or other people I meet. They encompass a spectrum of social relationships from fleeting exchanges to everyday encounters. The relationships can be close or distant, but yet there is always a thread that weaves between one person and another, creating the fabric of our social networks. The paintings serve as mementos, little fragments of intimacy, something to remember them by.”
Jennifer Faist received her MFA from Claremont Graduate University. She lives and works in Los Angeles.
SECONDARY MARKET MODERN & CONTEMPORARY FINE ART
PAINTINGS | PRINTS | PHOTOGRAPHY | MULTIPLES | SCULPTURE
Submissions - please email jpegs and information to: firstname.lastname@example.org
Dinh Q. Lê: “The Scrolls: Distortion”
October 7th – December 19th, 2017
Opening Reception: October 7th, 2017, 5 – 7 pm
Shoshana Wayne Gallery is pleased to present, The Scrolls: Distortion by Dinh Q. Lê. This is the artist’s seventh solo exhibition with the gallery. The exhibition will be on view October 7th through December 19th, 2017, with an opening reception on Saturday October 7th from 5-7pm.
The Scrolls: Distortion is a new body of work and a cumulative exploration of Lê’s oeuvre to date, putting his series such as Persistence of Memory, From Vietnam to Hollywood, A Quagmire This Time, and Remnants, Ruins, Civilization, and Empire in conversation with one another. Key to this body of work is Lê’s attention to memory. Whereas previously Lê’s work dealt with fragmented memory and processes of piecing together or reconciling painful and traumatic histories, here he is presenting memory as landscape.
The main gallery features eight photo scrolls installed in the center of the gallery. For these works, Lê stretches an image to about 164 feet resulting in an elongated and distorted but still recognizable representation of that image. Lê’s technical strategy is directly indicative of his subject matter, which deals with the ways in which memory becomes distorted over time. Just as landscapes shift and change over time, so too does memory.
Lê’s use of the scroll format draws on ancient Chinese scroll paintings, which typically depicted landscapes. As the scroll is unrolled only a small portion of the painting is revealed at a time. Lê’s own photo scrolls refer to traditional scroll paintings while at the same time encouraging a more dynamic and conceptual conversation about landscape and the various iterations it can embody.
While Lê’s scrolls present photography as abstract object and sculpture, the artist’s woven photographs in the west gallery present photography as tactile. Utilizing his signature Vietnamese mat weaving technique in a larger format than ever before, these photographs collage imagery of murals of the Cambodian epic poem Reamker, based on the Sanskrit Ramayana epic, with portraits from the S-21 prison and images from the Cambodian Civil War.
Dinh Q. Lê has exhibited extensively nationally and internationally at prestigious venues including, Hiroshima Museum of Contemporary Art, Japan; Mori Art Museum, Japan; dOCUMENTA (13), Kassell, Germany, and the Venice Biennale, Venice, Italy to name just a few. Lê’s upcoming solo exhibitions will be held at Museum Boijmans Van Beuningen, Rotterdam, Netherlands, and at C3A Centro de Creación Contemporánea de Andalucía, Cordoba, Spain. His work is in the permanent collections of the Museum of Modern Art, New York; the Israel Museum, Jerusalem; Fukuoka Asian Art and the Mori Museum in Japan; San Francisco Museum of Modern Art and Los Angeles County Museum of Art amongst many others. Lê has been the recipient of the Rockefeller Foundation’s Bellagio Residency Award and the Prince Claus Fund for Cultural and Development amongst others. The artist lives and works in Ho Chi Minh City, Vietnam.
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A third generation Californian, Dennis Doheny was born and raised in the Los Angeles area and currently resides in Santa Barbara. Growing up with an innate love of art, he spent much of his childhood drawing and painting. Although he studied some art in school, Doheny is largely self-taught. After graduating from Pacific Palisades High School in 1974, he exhibited with Petersen Gallery of Beverly Hills. From 1986 until 1996, Doheny supported his family with a steady career in commercial art until his passion for fine art painting prevailed.
Since 1996, his fine art career has developed a strong following both locally and nationally. Collectors are drawn to his beautiful, heroic renderings of the western landscape. Taking the best from the great California and Hudson River School artists of the past, Dennis has fused and reinterpreted the genres, combining dramatic light, rich color and specifically selected and finely crafted detail to create a unique and distinctive vision of the American West.
Doheny is the recipient of numerous awards. Most recently, he received "The Iriving Museum Prize" (the only award presented) at the California Art Club's 105th Annual Gold Medal Exhibition. Previously, he was awarded the Irvine Museum Gold Medal at the California Art Club's 2013 Exhibition. At the same show, he also received the American Art Collector Award of Excellence. In 2009, Doheny was honored to be chosen for the Edgar Payne Award for best landscape at the California Art Club's 2009 Gold Medal Juried Exhibition. Dennis is proud to be featured in the Prix de West Invitational Art Exhibition. In both 2006 and 2008 at the Prix de West, he received the Frederic Remington Award given in recognition of "exceptional artistic merit". Also in 2006, he was honored with the Inaugural Purchase Prize at the Eiteljorg Museum's "Quest for the West" Exhibition and is proud to be a part of their permanent collection. In 2003, he was recognized by the Autry National Center and awarded the Master's of the American West Award. His painting was acquired by the Autry for its permanent collection as well. He received the Grandville Redmond Memorial Purchase Prize in 2000 for his painting "New Dawn" at the California Art Club's Spring Salon and upon his return to fine art in 1998, he received First Place in the Carmel Plein Air Competition.
Doheny is a proud to be a Signature Member of the California Art Club.
JIMI GLEASON: REFLECTED & ABSORBED
November 11, 2017 - January 13, 2018
The William Turner Gallery is pleased to announce an exhibition of new paintings by Southern California based artist, Jimi Gleason. Intrigued by the interlinking phenomena of perception, environment and engagement, Gleason presents two distinct bodies of work, Reflected and Absorbed, inviting the viewer to experience the paintings in this exhibition in entirely different ways.
The Reflected paintings are consistent with the ultra sleek, silver deposit pieces that Gleason has been producing for the past decade, but, in a departure from his previous work, the artist has invoked the grid as a way to re-order and disrupt these luminous surfaces. While the grid marked a radical way for the avant-garde artists of the early 20th century to break free from the tradition of representational painting, Gleason’s interpretation is fascinating because his reflective surfaces actually re-introduce the human figure into these abstractions. Gleason’s multi-textural surfaces are broken up into hard-edge geometric fields that oscillate between blocks of mirror-like sheen and gritty texture. The effect is dazzling - the pieces act as fractured mirrors that simultaneously reflect and obscure the environment around them. The tumbling, rectangular forms shimmering across Gleason’s Untitled, echo the elegantly stacked shapes of Kazimir Malevich’s Suprematist compositions, while the asymmetrical checkerboard surface of one of his lustrous silver pieces recalls the reductive constructions of Piet Mondrian, though Gleason’s pieces feel entirely contemporary due to his masterful use of non-traditional materials.
Like the Reflected paintings, the Absorbed pieces are achieved using Gleason’s signature technique of deploying a thin coat of silver nitrate deposit over acrylic on canvas. Diverging from their ultra-gloss predecessors, however, Gleason has mutated the surface of the Absorbed pieces so that the reflective quality of the silver nitrate is transformed into a pearlescent glow. Applying a prismatic array of hues, these paintings become all about color and texture. By obstructing any reflected imagery, these pieces are in essence, pure abstraction. Gleason’s application of thickly impasto acrylic coupled with the delicious spectrum of vaporous jewel tones that seem to float just above the surface delight the senses. The colors appear to shift as the viewer moves around the paintings while the churning surface textures make them appear as if they are perpetually in motion.
Born in Newport Beach, CA, Gleason received his BA from UC Berkeley in 1985. He studied printmaking at the San Francisco Art Institute before relocating to New York City, where he worked as a photo assistant and photo technician. Returning to California, Gleason was employed in the studio of Ed Moses for five years. Combining the disparate technical and compositional skills developed during his exposure to printmaking, photography and mixed-media painting, Gleason is now the subject of considerable curatorial and critical applause. His work is exhibited in significant public institutions, including the Armand Hammer Museum, the Long Beach Museum of Art, the Seattle Art Museum, the Tucson Museum of Art and the Frederick R. Weisman Foundation.